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Messages - Kenny Troy

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76
Answer 1: The faster the release time the quicker the full amount of make-up gain will be applied. Sort of. A slow release time will 'smooth' as you say, keeping a somewhat constant gain reduction in effect. A faster release time will continually being resetting back to 0 GR so all the bits in between loud transients are getting boosted, and overall it appears louder. With that said, the trade-off for quicker release times is that it becomes more prone to pumping, smearing, and distortion.

Answer 2: A regular stereo compressor doesn't care what frequencies it's working on, it's purely a dynamic processor so it will affect all frequencies all at once. In the same fashion as the limiter (a limiter is just a high-ratio compressor, in it's simplest form) it pushes peaks down, creating headroom so that the overall volume can be increased. It makes things sound 'loud' by reducing the gap between high peaks and low peaks. A multiband compressor does the same thing but it first splits the signal into multiple bands, and applies a compressor to each of those split bands, so each range can have it's own compression settings, unaffected by the other bands.

Answer 3: Partially answered above. As for is it 'better'... yes and no. Usually no, but that's my opinion coming from the mastering perspective, and many will argue the opposite. To me multiband is a surgical tool that should be used when everything else has failed, generally if I'm having to put a multiband comp on a master it means that something has gone horribly wrong in the mix. If you have access to each instrument, fix the problem there. Generally compression is something done to tie things together, so when you get into splitting them apart even further with a multiband things can get really messy.

Answer 3.5 (you have two question 3s!): While I said I don't like multibands on masters, they do occasionally have execellent uses in the mix. My main example would be on a distorted bassline (think neurofunk-style drum & bass) that's a bit all over the place. A multiband comp would let you tame the sub range to keep it at a constant level while still allowing the upper harmonics to have dynamics and movement.

Answer 4: "Glue" is just the term used when you're using compression to get that feel of cohesion between all of the elements, making the track feel like one thing instead of obvious layers that don't quite fit together. Often what it means at a technical level is slower RMS detection circuits instead of peak.

Answer 5: You're forgetting the element of TIME! When the kick hits, the compressor will act on everything (including the pad) pushing it all down. The kick will be finished quickly, but the pad is long so you'll hear it gradually rise back to volume as the compressor releases. So they'll never be at the same volume at the same time... they interact. But also think of the nature of a kick vs a pad, a loud transient vs a steady tone... you wouldn't WANT those to be at the same level, or the pad would sound insanely loud and the kick would be tiny. Balance does not mean everything is the same, balance means everything is comfortable relative to each other.

Answer 6: Simplest version - when you want to change the dynamic range, not the volume. Reach for the fader first, if you're finding that an instrument is standing out too much in some spots and then getting buried in others, that's when it's time to reach for the compressor.

Ya boy knows his stuff. This was a great read thank you

77
WIPs / Re: Festival Bounce
« on: January 19, 2016, 05:40:28 pm »
- Add kickstart
- kick more power
- add new sound to drop

I actually just bought Kickstart yesterday, haven't installed it yet but I'm excited to see how well it works!

I'll play some new lead layers, thank you. Have a song you'd like me to review for you?

78
WIPs / Re: Festival Bounce
« on: January 19, 2016, 03:21:12 pm »
you could work on ur volume, and on the drop, ur bass is not powerful enough. it needs to be harder.

https://soundcloud.com/peter-yun-6/flume-shit-nigga-wip

https://soundcloud.com/peter-yun-6/yunsie-signs

you can give me feedback on either one :) thanks

I recently put on a few tracks by Blasterjaxx, Showtek, W&W, and cranked my speaker volume up to 25 rather than 10-12 which I mix/produce at.. and I noticed my overall track volume is really terrible.

A large portion of that probably has to do with EQ/compression which I haven't really gotten into yet, but these 'professional' songs absolutely kill it in terms of utilizing the entire frequency spectrum and getting the most out of each instrument.

I also found a good bass for the drop (you're right - the current drop did not has a bass synth yet) so I'll put that in and work on that for sure.

Thank you for your feedback and I'm gonna listen to both of your tracks on Wednesday and review them! Unfortunately I won't get to it tonight between work, gym, and brother's birthday.

Thanks again

79
WIPs / Re: Festival Bounce
« on: January 19, 2016, 03:17:44 pm »
Hey man, I like the idea but could def use some EQ'ing like you mentioned at the top. MayB throw a top kick or a small pop over your kick to bring it over the mix a little more. Def Eq the shit out of that lead and get the lows out. That way it'll give your kick some room to break through. I'm no expert on EQing but it's what I'd do! Utilize a ride in and maybe a clap at certain point in the drop to make it more interesting! Def has potential if you give it the time. keep at it man!

Been working on every instrument's EQ, will continue tomorrow on my day off and I'll probably finish it up. I'll be sure to upload a revised link and thank you for your feedback brother I appreciate that.

I like your suggestion to add a pop over the kick, the ride and clap, and of course fixing up the lead. Gonna work on implementing some of that asap

Thanks again for your feedback it's beyond helpful

80
WIPs / Re: Festival Bounce
« on: January 19, 2016, 12:51:21 am »
bump

81
- Pan layers L/R
- Play multiple octaves
- Chords
- Detune saw waves, place a LFO on it (~1%)
- Flangers, phasers, sausage fattener
- decrease Mod Envelope pitch below 0.0, maybe like -.5 (play around with it)

82
WIPs / Re: 2ND RELEASE OF THE YEAR! Future/R&B/Electronic
« on: January 18, 2016, 02:37:31 am »
Damn mate this is awesome good work

It's one of those tracks you can 1000% listen to again

83
Inspiration/Creativity/Motivation / Re: Producers that defy aging
« on: January 18, 2016, 02:32:19 am »
Personally I think the music should speak for itself, independent from age of the producer.

But at the same time it is pretty cool when you see someone so young being able to master this. For example my younger brother is 14 years old, and when I hear a track produced by a 14 year old it's kinda like wow that's pretty impressive.

84
WIPs / Re: Festival Bounce
« on: January 18, 2016, 02:18:36 am »
Some of my own quick points

- Going to fix the supersaw layer so the flanger isn't so strong
- Needs more warmth in the drop supersaws
- There is no reverb on the drop supersaws yet, will play around with that
- Fix snare build volume level/ lower other layers/ reverb on snare-clap layer
- Tune the volume automation of lead

85
WIPs / Festival Bounce [Updated]
« on: January 18, 2016, 02:15:19 am »
Added a new version I've been working on. Still have a lot of EQ/compression/limiting to do, but I'd still love any feedback.

- Added some bass to the drop, have to still limit and add Kickstart
- Gonna fix the bridge

Leave a  track and i'll give feedback and ty
https://soundcloud.com/kennytroy/festival-bounce82/s-dTDzw
----------------------------
This is a track I've been working on for a while, and at first I wasn't gonna upload it but fuck it I'm curious as to what people think. I have about 10 tracks semi-complete.. but I have a horrible time actually finishing any of them. For whatever reason I seem to just give up and say it's not good enough.. but this one I want to finish even if it's just for pure experience, which I really think I could benefit from.

Anything after the drop is just future ideas and possible arrangement, haven't got that far yet as I wanted to finish the first half of the song before moving on.

Questions

- Is the song entertaining? Yeah, I know.. "big room" but I personally like big room and almost all other genres too

- It's not 100% mixed, compressed, EQ'd and all that but I'd love feedback anyways on what you think can be EQ'd to give more presence or has too much presence

- Stereo field? I'm thinking about panning a few drum instruments

- General feedback?

I'm going to upload a future house song I wrote the other day as well, maybe in a week or so once I complete more sections of the track, as of now it's just a drop.

Thanks guys!

Comment a song of yours and I will give you a complete and thorough review!
https://soundcloud.com/kennytroy/festival-bounce8/s-YqZdn

86
Sound Design / Re: Best Youtube Sound designers
« on: January 16, 2016, 07:24:38 pm »
Hey guys so I've been watching "SynthHackers" videos for the last few days and i figured we could make a thread to compile our favorite youtube sound designers. Heres the link to this guys videos, all of his sounds are great and im learning a bunch just watching and creating the sounds as he goes along. Whether youre looking to create your own unique sounds or just take your presets to the next level, this guys videos can help a bunch. Heres the link:

https://www.youtube.com/channel/UCuPgdLBPVvhNt2o7m_HFQDw/videos

ArtFX (https://www.youtube.com/user/ARTFXSTUDIOS/videos) is another guy to keep an eye on.

Also I love your music brother, especially Past and Present and the layers on the Alias intro. Glad to see you on here!

88
I meant for example something that's so low in the mix that you can barely make it out, or that you can't hear constantly but which is definitely there

Yep that would be a LFO haha.

However I have a feeling you mean instruments and synths (pads, percussion, toms, FX, etc), rather than a modulation control on your synth?

89
LFO. Awesome tool.

An LFO can be routed to control, for example, the frequency of the audio oscillator, its phase, stereo panning, filter frequency, or amplification. When routed to control pitch, an LFO creates vibrato. When an LFO modulates amplitude (volume), it creates tremolo.

https://en.wikipedia.org/wiki/Low-frequency_oscillation

90
Sound Design / Re: Big Kicks
« on: January 15, 2016, 04:06:48 pm »
If you could post a reference track I'd be glad to take a look for you, but I'll just throw something out there anyways.

As for the thing that speeds up as it builds more, first thing that came to my mind was an Arp. I could be totally wrong here, but I know I've personally done this in one of my songs where I sped up an Arp: on Sylenth1 click the 'Arpeg' box and then from there you can modulate the Time and Gate of the arp

Time: How quickly the next note in sequence will hit

Gate: The gate time is sometimes given as a percentage: When it's set to 100 percent, each note in the arpeggio will last until the next note starts. When the gate time is less than 100 percent, there will be a gap between the notes

Be sure to check out the Velocity and Key features as well. Play around, there's a lot to learn! (PS take a masterclass to fully understand your synth. It's invaluable)


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